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20 x 16 in ($240)
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ABOUT THE ARTWORK
This original work of art exists in the form of a hand-printed etching by Jerry Mazur-DiFalco and was adapted from one of his photographs from a walking tour (in 1989) of the Philadelphia Masonic Temple. The building documented in this etching is one of the most mystical and beautiful sites of the city, and the title (MASONIC PORTAL TO THEE ELEMENTS) refers to the Masonic connections to nature and their respect for all spiritual beliefs. The artist also wanted to imply that this organization throughout history has worked in harmony with the elementals of Earth, Air, Fire, Water, and Spirit. Di Falco's work on paper was executed with a zinc plate onto which a liquid ground of beeswax, mineral spirits, and oil of spike lavender was applied and left overnight to dry. DiFalco then etched the image into into the layer of ground with needles and next developed the exposed lines in Nitric acid. Three acid baths were required for this work, and the studio techniques of aquatint and intaglio and were employed; this original etching is number one (the best) of five etchings within the Second of Four Editions. DiFalco limited each edition to only five prints, and each one is executed in different color combinations of ink and paper. The artist's unique techniques of ink application and wiping endows the work with a mysterious quality. The image size is ten inches wide by eight inches high, or 25.400cm by 20.320cm; the print, or paper, size is fifteen inches wide by twelve inches high, or 38.100cm by 30.480cm. This edition was printed on RivesBFK white paper from France with a blend of French inks from Paris and London. The work includes an archival (acid-free) mat and a wood/glass frame (semi-ornate painted gold). This building, situated at One North Broad Street just north of Philadelphia City Hall, was constructed in 1873. The architect—James Hamilton Windrim (1840-1919)—incorporated seven lodge halls within this structure to reflect the seven “ideal” architectural styles: Renaissance, Ionic, Oriental, Corinthian, Gothic, Egyptian, and Norman. The Philadelphia Masonic Temple is one of the best examples of post-Civil War architecture in the United States. The price of this work, which contains over one thousand etched lines, includes all shipment costs, packing materials, shipment carton, Certificate of Authenticity, and the framed and matted etching. The work was hand printed by the artist at The Center for Works on Paper, located at 705 Christian Street, in Philadelphia, Pennsylvania (within Fleisher Art Memorial’s Open Printmaking Studio). The Fleisher art school is located on the 700 block of Catharine Street and is associated with The Philadelphia Museum of Art.
DETAILS AND DIMENSIONS
Print:
Giclee on Canvas
Size:
20 W x 16 H x 1.25 D in
Size with Frame:
21.75 W x 17.75 H x 1.25 D in
Frame:
White
Canvas Wrap:
Black Canvas
Ready to Hang:
Yes
Packaging:
Ships in a Box
SHIPPING AND RETURNS
Delivery Time:
Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:
Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:
Printing facility in California.
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Jerry DiFalco
United States
Imagery and storyline—both vital components of my creative process—enable me to create a form of visual poetry. Consequently, photography is intricate to my artistic strategy, especially with regard to my etchings. In view of this, many of my printed images—accomplished via the studio techniques of intaglio, aquatint, drypoint, and Chine collè—originate from my own photographs, as well as ones I uncover during research into the archives of academia, historical societies, and museums. Upon locating a scene that fascinates me, I first sketch a few original drawings of the likeness, and next transfer that drawing onto my prepared zinc etching plate. NOTE: In my etchings that incorporate the Chine collè process, I use mulberry bark paper from Thailand, which is infused with Japanese kozo threads. The paper is also treated with methylcellulose. I endeavor to establish links between the metaphysical and physical worlds . . . between the realms of dream and reality . . . and between the natural and the fabricated. In a sense, I believe that art unveils everything that we mask behind our assumptions and biases . . . or rather, those realms we neglect—or refuse—to perceive. My label for our failure to examine these areas is, “The Phenomenology of Non-Connectedness", which I blame on today’s communicational tools such as Social Media, the Internet, texting on smart phones, and “tweeting”. MY ETCHING TECHNIQUE I work on metal etching plates treated with both hard and soft grounds. These grounds consist of mineral spirits, beeswax, oil of spike lavender, and other natural substances. After these grounds dry, I draw images with needles and other tools onto the plate. Next, the exposed areas are “etched into” the zinc or copper plate in a bath of Nitric Acid and spring water. An artist’s proof in then printed after the plate is cleaned; Moreover, two to seven additional plate workings, acid baths, and proof printings occur before my desired effect is obtained. When satisfied with my end result, I apply oil based etching ink onto the clean plate and then remove the excess ink with several wipes. Next, I align my etching plate onto the printing press bed and cover it with papers and press blankets. Finally, the plate goes through the press to obtain my print. This process is repeated until all editions are created. I usually create three to five editions of five or six etchings for each one of my plates.
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